I’m launching into what may be an ill conceived Friday series here at Bagging Area. Last Friday I posted several songs about honey- songs by Death In Vegas, The Jesus And Mary Chain, The Pastels and Spacemen 3. Today’s musical foodstuff is sugar, delicious, addictive, lipsmacking sweet stuff (that a report recently said is the real cause of the modern obesity crisis in the western world). A quick search of my hard drive reveals I’m spoilt for choice when it comes to sugar.

The lightest song on The Stone Roses debut album from May 1989 was about a girl, a sugar spun sister, opening with John Squire’s crystalline guitar chords and Ian’s softly sung vocals. The chorus turns things a little in what seems on the surface to be a fairly simple love song- the sky going green, the grass blue, M.P.s involved in solvent abuse- all these things would happen before she is happy with him. There’s a bit after the second chorus where there’s a pause and in the gap Ian sings ‘my hands….. are stuck to my jeans’ which is very nicely done (and which for years I misheard as ‘stuck to my dreams’). The sugar analogy is back at the end as Squire winds things up- she is the candy floss girl, he the sticky fingered boy.

In 1997 Yo La Tengo put out a career highpoint, the double album I Can Hear The Heart Beating As One, an album which is a masterpiece of its kind. Sugarcube was in the middle of side 1 and later released as a single, 3 minutes 21 seconds of New York dreamy, soft noise perfection.

There’s loads more sugar on my hard drive- The Orielles have a song from last year (with an Andrew Weatherall remix to boot) called Sugar Tastes Like Salt, Slowdive’s recent triumph gave us Sugar For The Pill, there’s some Balearic Sugar Water from Kamasutra, Echo And The Bunnymen’s glorious 1987 single Lips Like Sugar and Secret Knowledge’s Sugar Daddy, a 1994 epic from Kris Needs and Wonder. I think I’ve posted all of these before at some point. There’s plenty more sugar in my record collection too but I’ll wrap this up with one more sugary delight before our teeth fall out. Four years ago Timothy J Fairplay released a 12″ in his Junior Fairplay rave guise, a back to the old skool circa 1990-1 retro-rave track that I love to pieces. Created using solely a breakbeat and a Korg 1, a vocal whoop and a stacatto ‘yeah!’, and then released on one sided purple vinyl, it is fun bottled, the future backwards. Sugar Puss.

Timothy J Fairplay rises another notch up in the Bagging Area posting rankings with a track from a forthcoming e.p. (Love And Columbium). With electronic/dance music so much of it is about the quality of the sounds, and this one has really good sounds and is really absorbing. Plus, another video to give you sleepless nights.

In his Junior Fairplay guise Tim put 50 handstamped vinyl copies of a four track 12″ called How Do You Like Me Now? on Juno last week. Four tracks of electronic heaven. I don’t know how many are left but it’s a maximum of forty-nine. There are snippets of all four below.

Here’s a couple of recent things from the Scrutton Street Axis, both tracks from the house music end of things and both a tad spooky. Craig Bratley’s Beat On The Drum has some deep, repetitive techno with a robotic voice and a very freaky,disturbing video.

Timothy J Fairplay has posted the demo of another Junior Fairplay tune on Soundcloud, Faxes From The Future (winner of the most retro-futurist song title award 2014). An early 90s breakbeat, one fingered keys, disembodied voices, oscillating noises. I’m really hoping that there’s going to be a Junior Fairplay album.

This has appeared from Timothy J Fairplay in a Junior Fairplay guise and it’s out soon on one-sided purple vinyl. Purple! One sided! No giant fold out poster though.

This is dance music like they used to make in the 90s- a breakbeat, a shout and some Korg. Highly effective and makes you tingle a little at the memory of nights lost in dark clubs full of dry ice and people who swore you were their best friend. And maybe briefly you were.